He was a unique figure in the Bengali literature of the medieval age. In the seventeenth century, when the world of Bengali literature was dazzled by the brilliance of Persian and Arabic, when educated Muslim society despised the mother tongue Bengali as the ‘language of the lowly’, he stood up against that notion. He not only wrote in Bengali but wrote with immense courage and sharp satire. He demonstrated that knowledge, science, philosophy, religion, and love stories could also be written in Bengali. He translated Persian and Arabic novels and composed romantic epics and moral didactic poems. He pointed his finger at the learned aristocrats of his day and declared, ‘Those born in Bengal who hate the Bengali language, I cannot determine what their lineage is.’ One of the primary reasons to remember this rebellious poet is his poem ‘Bangabani’, which inspired the Bengali language movement almost four hundred years later. This confidence and love for the mother tongue of that nearly forgotten medieval poet remain relevant to this day. This report chronicles the complete story of that rebellious poet – from a cottage in Sudharam village, Noakhali, to mastery of Persian, Arabic, and Sanskrit, the composition of ‘Nurnama’, ‘Yusuf-Zulekha’, ‘Lalmoti Soifulmuluk’, his ridicule of intellectuals who despised Bengali, and his proclamation of the glory of the mother tongue five centuries ago – the story of extraordinary scholarship and courage.

Introduction

21 February 1952. A procession emerged from in front of Dhaka Medical College; police bullets were being fired. The chants of the procession were not only ‘We want Bengali as the state language’ but also another poem – ‘Those born in Bengal who hate the Bengali language, I cannot determine what their lineage is.’ This poem was written by the medieval poet Abdul Hakim (1620-1690). That day, those lines of poetry instilled a renaissance in the hearts of Bengalis. During the Pakistani era, when conspiracies were afoot to impose Urdu as the state language, it was Abdul Hakim’s poem that seemed to inspire Bengalis the most to protect the dignity of their mother tongue. Nearly 250 years after the poet’s death, his words became relevant anew. In world history, it is a rare event that a medieval poet’s writing becomes the inspiration for a political movement in the post-colonial era. The voice of poet Abdul Hakim still teaches Bengalis to hold their heads high with a free spirit. This report chronicles the complete story of that rebellious poet – from a remote village in Noakhali to mastery of Persian, Arabic, and Sanskrit, the composition of ‘Nurnama’, ‘Yusuf-Zulekha’, ‘Lalmoti Soifulmuluk’, and a unique testament to his love for the Bengali language – the story of a noble soul.

At a Glance: Life of Poet Abdul Hakim

Information	Details	Thriller Note
Full Name	Abdul Hakim	The name seems intertwined with the history of language love
Birth	Approx. 1620 AD (exact date unknown)	The beginning of the 17th century, a new sunrise in Bengali literature
Birthplace	Babupur village, Sudharam (present-day Noakhali Sadar) or Sudharam, Sandwip	The location varies across sources, but his residence was in the Noakhali region
Death	Approx. 1690 AD (approx. age 70)	Exact date unknown, lost in the mists of time
Father’s Name	Shah Abdul Razzaq	A Sufi saint and scholar by profession
Education	Mastery of Bengali, Persian, Arabic, and Sanskrit; knowledge of Hindu epics Ramayana and Mahabharata	Acquired extraordinary scholarship through self-education
Profession	Poet, Translator	Means of livelihood unknown; literary pursuit was his main occupation
Identity	One of the most popular poets of the medieval age; pioneer of the Bengali language; composer of the poem ‘Bangabani’	Source of inspiration for the Language Movement
Linguistic Knowledge	Extraordinary proficiency in Bengali, Persian, Arabic, and Sanskrit	Unique thirst for knowledge beyond the confines of his era
Notable Works	‘Nurnama’, ‘Yusuf-Zulekha’, ‘Lalmoti Soifulmuluk’, ‘Shihabuddin Nama’, ‘Nasihatnama’, ‘Durre Majlish’, ‘Hanifar Lorai’, ‘Shahrnama’	Immortal creations blending Bengali, Persian, and Sanskrit
Highest Recognition	His poem ‘Bangabani’ was widely used in the 1952 Language Movement	Recognition came nearly 250 years after his death
Special Achievement	Enriched Bengali literature by translating Persian love stories; proclaimed the glory of the Bengali language	Both a translator and an original poet

Hidden between the lines of each entry in the table are stories of linguistic struggle and extraordinary courage. Especially the ‘Death’ column – looking towards the sky, even after becoming an immortal soldier of Bengal, the exact location of the poet’s death is unknown.

Early Life and Family Background (1620-1640)

The exact details of poet Abdul Hakim’s birth and childhood are shrouded in the obscurity of history. From various sources, it is known that he was born around 1620 AD (some sources indicate the early 1620s). There is disagreement among scholars about his birthplace. Some say he was born in Babupur village in Sudharam, Noakhali district (present-day Babupur, Noakhali Sadar Upazila). Other sources state he was born in Sudharampur village in Sandwip, Chittagong (present-day Sudharam, Sandwip Upazila). One reason for this confusion is that in the 17th century, the Noakhali and Sandwip regions were known by different administrative names, and the boundaries of the regions changed repeatedly due to the shifting courses of rivers. Babupur was then known as a prosperous pargana where agriculture and trade flourished. It is possible that the poet’s ancestors migrated from Sandwip to Noakhali and settled there. However, most sources identify Noakhali as his birthplace. The area was turbulent due to the presence of Portuguese and Magh pirates.

Poet Abdul Hakim’s father, Shah Abdul Razzaq, was a scholar and Sufi saint. He was also known in the area as a religious leader. The influence of his father’s court or pir-hood sparked in him an interest in religion and philosophy. He received his primary education from his father. It is believed that in childhood, he lived with his father in Sandwip and later settled permanently in Babupur village, Noakhali. From that cottage in Babupur began his journey of knowledge acquisition. From childhood, he displayed extraordinary intelligence, a curious nature, and remarkable aptitude for study. He received primary education in Arabic and Persian at the village maktab. A local proverb says that young Abdul Hakim once asked his father, “God is the ruler of us all; all languages are equal to Him. Then why should we be ashamed to speak in Bengali?” This question from childhood gives an indication of his later philosophy.

He began his primary education at the local maktab. There, he received his initial lessons in Arabic and Persian. In his father’s company, he acquired knowledge of Tasawwuf (Islamic philosophy), the Qur’an, and Hadith. His childhood and youth were spent in the rural environment of Noakhali and Sandwip. The agricultural and riverine nature helped him later in creating literary flavour. He grew up listening to the spoken language of local farmers, fishermen, and ordinary people. For this reason, the language of his poetry was lucid and people-friendly.

Education and Knowledge Acquisition (1640-1660)

The name of any specific formal school or educational institution for poet Abdul Hakim’s education is not known. This is because he was primarily self-taught. However, despite not attending any regular institution, he achieved extraordinary mastery of Persian, Arabic, and Sanskrit through hard work and perseverance. Besides his studies, he also acquired deep knowledge of Bengali indigenous and Sufi philosophy. He mastered the grammar, literature, and philosophy of these languages through his own interest, not by attending libraries or schools. At a time when educated Muslims in Bengal took pride in considering Arabic and Persian as the languages of knowledge, he also acquired exceptional proficiency in Sanskrit. He read the Ramayana, Mahabharata, Puranas, and other Hindu scriptures. The use of Hindu deities and mythological metaphors in his writings proves this. It is believed that he acquired proficiency in these languages by coming into contact with sages of various South Asian languages. He likely came into contact with scholars from the Mymensingh and Dhaka regions.

He was so dedicated that he acquired deep knowledge of grammar, rhetoric, and literature of these languages in a short time. In his writings, he mentions having knowledge of ‘Turki’, ‘Hindi’, and ‘Persian’ languages. For that very reason, the effortless use of Persian words is seen in his poetry. He was also proficient in the use of Arabic words.

It is worth noting that books published in Bengali in this era were either translations from Sanskrit or followed Persian stories. But Abdul Hakim correctly understood that ‘knowledge’ and ‘language’ are not separate things. To impart knowledge to the common people of Bengal, it was necessary to write in their understandable language – Bengali. From this decision, he devoted himself to literary practice in Bengali. As a result of his scholarship, Bengali literature gained a new dimension. He realised that knowledge has no language; knowledge can be expressed in any language. He actualised this philosophy.

Beginning of Poetic Practice and First Poetic Works (1660-1670)

Poet Abdul Hakim’s poetic practice began mainly through translations of Persian and Arabic literature. In the 17th century, the influence of the Persian language was widespread. Persian was the language of the elite and educated in Muslim society and administration. Abdul Hakim translated Persian love stories, bringing them within the reach of Bengali readers. Historical sources indicate that he translated the Persian poem ‘Yusuf and Zulekha’ (originally the love story of Prophet Yusuf and Zulekha) into Bengali, creating the poem ‘Yusuf-Zulekha’. This was one of his early significant works. He did not merely translate; he adapted the style of storytelling and metaphors to the Bengali context. In this poem, besides Arabic-Persian words, Sanskrit words are also used. He composed ‘Nurnama’, a poem based on the life of the Prophet (pbuh). ‘Nurnama’ is his most famous and discussed book. ‘Durre Majlish’ is a moral didactic poem; he translated it into Bengali, partly inspired by the Persian ‘Nurnama’. He also translated epics of valour like ‘Hanifar Lorai’ into Bengali. His other major original poetic work is ‘Lalmoti Soifulmuluk’, a romantic epic. This poem was first published in the late 19th century and gained immense popularity. It is worth noting that Abdul Hakim’s works were published and read long after his death. Although the trend of Sufi poetry existed in his time, he walked the path of writing original and humanistic love stories. For this reason, he sometimes faced criticism from contemporary scholars. But he never changed his path. Stories of women and love appeared repeatedly in his poetry, influencing later writers. ‘Lalmoti Soifulmuluk’ became so popular that it was read in every home in Bengal. In this context, it can be said that Abdul Hakim was the pioneer of giving a place in Bengali literature to the feelings of ordinary people by rendering Persian love poems into Bengali.

A Mystical Poem Based on the Prophet’s Biography and Reflections on Language

‘Nurnama’ (The Story of Light) is poet Abdul Hakim’s most famous poetic work. In this poem, he presents the life, spiritual, and moral teachings of Prophet Muhammad (pbuh). The poem is influenced by Sufi philosophy and Islamic spirituality. But at the same time, local Bengali tastes and regional contexts are incorporated. In the poem ‘Nurnama’, he describes the lifestyle, food habits, and feelings of love of Bengali men and women, reflecting the contemporary society of Bengal. The manuscript of ‘Nurnama’ is still preserved and is an invaluable asset to Bengali literature. The partial poem ‘Bangabani’ from this work has become eternally memorable in Bengali literature.

In ‘Nurnama’, Abdul Hakim proclaims the glory of the Bengali language and severely criticises those who hate Bengali. In a section of the poem, he writes:

“Those born in Bengal who hate the Bengali language,
I cannot determine what their lineage is.
He whose mind does not delight in the knowledge of the native tongue,
How can his life be successful?”

These lines seem to be an extreme mockery of the educated Bengali Muslims of that time. The language of ‘Nurnama’ is simple and lucid, which also appeals to the common reader. Although Abdul Hakim strongly presented advice and religious principles in ‘Nurnama’, he never invoked harsh discipline. He explained the essence of Islam in simple language. His primary purpose in composing this poem was for ordinary Muslims to understand the Prophet’s biography and the teachings of Islam in their own language. ‘Nurnama’ is not just a religious poem; it is also a valuable document of the social and cultural history of medieval Bengal.

Bengali Translation and Poetic Excellence of a Persian Love Story

Abdul Hakim’s second most important work is ‘Yusuf-Zulekha’. It is a Bengali translation of the poem ‘Yusuf and Zulekha’ by Persian poet Abdur Rahman Jami (1414-1492). Jami’s poem itself is a Persian reinterpretation of the story of Prophet Yusuf (pbuh). Abdul Hakim rendered that poem into Bengali. However, he is not just a translator; he recreated the story by adapting it to the atmosphere and mentality of Bengali readers. He preserved the original Persian narrative but gave the imagery and metaphors the form of Bengali rivers, flowers, and nature. The story of the love, pain, and sacrifice of Prophet Yusuf (pbuh) and Zulekha is depicted in a very poignant language.

The poem ‘Yusuf-Zulekha’ gained immense popularity among ordinary Muslims. Many manuscript collectors and readers preserved this poem by hand-copying it. The speciality of this poem is that although it is a religious story, Abdul Hakim combined earthly love and pathos. The psychology of the heroine Zulekha in the poem is so deep and sensitive that it was rare in Bengali literature at the time. ‘Yusuf-Zulekha’ remains a beautiful example of love poetry in medieval Bengali literature. According to researchers, the transformation of this poem from the Persian original demonstrates Abdul Hakim’s linguistic style and poetic skill. He was proficient in using Sanskrit puns and metaphors. By reading this poem, ordinary Bengali Muslim men and women could enjoy a religious story.

Lalmoti Soifulmuluk and Other Poetic Works

Among Abdul Hakim’s other poetic works, ‘Lalmoti Soifulmuluk’, ‘Shihabuddin Nama’, ‘Nasihatnama’, ‘Hanifar Lorai’, ‘Durre Majlish’, ‘Karbala’, ‘Shahrnama’ are notable. ‘Lalmoti Soifulmuluk’ is a complete romantic epic, narrating the story of Prince Soifulmuluk’s quest to obtain the beautiful Lalmoti. It is Abdul Hakim’s most original and popular work. Although the story resembles an Arabian tale, Abdul Hakim infused it with regional Bengali flavours. Besides romance, there are battles, heroism, and sacrifice. The manuscript of this poem was recovered in the late 19th century and first printed in 1899. Since then, it has been reprinted repeatedly.

‘Shihabuddin Nama’ is a mythological war story; ‘Nasihatnama’ is a didactic poem; ‘Hanifar Lorai’ is a heroic epic, narrating the struggles of the hero Hanifa. ‘Durre Majlish’ is about moral education, ‘Karbala’ about pathos, and ‘Shahrnama’ a romantic epic. Although all these poems follow Persian-Arabic sources and are translated and recreated into Bengali, Abdul Hakim arranged the translations in such a way that they seem completely original. It is worth noting that the manuscript of ‘Hanifar Lorai’ has been found incomplete. Through these works, Abdul Hakim greatly enriched Bengali literature. His works opened a new horizon in the romantic stream of Bengali literature. Through translations of Arabic and Persian poetry, Muslim poets also advanced in literary practice, and Abdul Hakim played a pioneering role in this regard. Especially ‘Lalmoti Soifulmuluk’ is still revered by ordinary people through folk tales and jatra performances.

The Immortal Document of Rebellion

Poet Abdul Hakim’s greatest achievement is his poem ‘Bangabani’. This poem is actually a part of the ‘Nurnama’ poetic work. The entire section consists of about 50 lines, where he expresses his language consciousness and patriotism. Here are a few lines from the poem:

“Those born in Bengal who hate the Bengali language,
I cannot determine what their lineage is.
He whose mind does not delight in the knowledge of the native tongue,
How can his life be successful?”

In this poem, Abdul Hakim attacks those educated Bengali Muslims who looked down upon Bengali while considering Persian and Arabic as high-status languages. He questions that it is difficult to determine the lineage of those who hate the Bengali language even though they are born in Bengal. He further states that if knowledge of the native tongue does not accumulate in one’s mind, how can one’s life be successful? This poem was a mockery and attack on the contemporary Bengali elite class. And in the darkness of the medieval age, it was a unique example of revolutionary courage.

Abdul Hakim did not deny the status of Arabic and Persian in this poem. Rather, he said that without loving one’s own mother tongue, one cannot properly master any language. He wanted to establish the Bengali language as a language of knowledge as well. The lines of the poem were so powerful that they not only impacted the 17th century but also inspired the Bengali nation in the 1952 Language Movement nearly four hundred years later. The processions of 1952 would begin with this poem. Bengalis would awaken by reciting ‘Bangabani’. Even today, this poem is recited in meetings and discussions of the Language Movement. It is truly a unique achievement that a medieval poet’s writing has become the eternal sustenance of Bengalis. This poet’s foresight has immortalised him in the history of Bengali literature.

The State of Language in Contemporary Society and Abdul Hakim’s Reaction

In the 17th century, Arabic and Persian dominated the educated Muslim society of Bengal. Since the Holy Qur’an was revealed in Arabic, Muslims revered Arabic as the ‘language of God’. Persian was the language of the court and administration. For this reason, educated people considered literary practice in Bengali as an ‘uneducated’ and ‘lowly’ act. Although Bengali was the spoken language of Hindus and Bengalis, it was not recognised as a ‘language of literature’. There was a lack of knowledge written in Bengali. Many educated Muslims were even ashamed to speak their mother tongue, Bengali. In this situation, Abdul Hakim was the first to proclaim the glory of the Bengali language and explain the importance of composing literature in Bengali. He practically showed that complex Persian and Arabic subjects could be easily understood by ordinary people when translated into Bengali. Through his poems and translations, he wanted to establish Bengali as a ‘medium of instruction’.

Abdul Hakim not only spoke but also showed by action. His poems ‘Nurnama’, ‘Yusuf-Zulekha’, ‘Lalmoti Soifulmuluk’ are invaluable assets of Bengali literature today. He showed that an independent stream in Bengali is possible beyond the borrowed words of Persian and Arabic. In the context of time, his words were groundbreaking. This love of language made him distinct from other poets of the medieval age. He was admired by all – rich and poor, learned and ignorant – of contemporary society, as known from various manuscript annotations.

Comparison with Other Poets and Distinctive Features

Abdul Hakim’s contemporaries in medieval Bengali literature include poets like Alaol, Daulat Ujir Bahram Khan, Syed Sultan. Alaol also translated from Persian, but Alaol’s poetry is more ornate and scholarly. Alaol composed poems like ‘Padmavati’, ‘Soifulmuluk Badiuzzaman’. The language of his poetry was complex and Sanskritised, making it difficult for ordinary people to understand. Abdul Hakim’s poetry is relatively simple and straightforward, for which he is known as the poet of the common people. Just as Daulat Ujir Bahram Khan was proficient in composing ‘Laili Majnu’, Abdul Hakim was skilled in ‘Nurnama’ and ‘Yusuf-Zulekha’. Abdul Hakim’s writings display deep insight into language and life, as well as social consciousness. His love of language makes him unique. Moreover, he focused on composing more folk-based and popular poetry. Writing his poems for the entertainment of the common people was contemporary.

While Alaol’s poetry was more admired as courtly literature, Abdul Hakim’s poetry was more widely read as the poetry of the rural masses. His books caused a stir among the poor and peasant classes throughout his life. He can be called a ‘people’s poet’.

Abdul Hakim’s Poetic Mind and Philosophy

Abdul Hakim’s poetry was not just for entertainment; his poetry is a synthesis of knowledge and philosophy. He emphasised human welfare, justice, and morality. His writings contain the essence of Islamic philosophy as well as the expansiveness of human virtues. He believed that knowledge is created and spread through language. Therefore, neglecting the Bengali language is extremely harmful to the Bengali nation. His philosophy was modern and rational. He rejected religious bigotry and communal narrowness. He showed that even if written in Bengali, religious knowledge or literary value does not diminish. By pointing out the wrong path of the scholars and elite, he created a popular literary stream. He believed that people find liberation through faith, not through language. This philosophy brought about a revolution in contemporary society.

Abdul Hakim’s poetry emphasises humanism and egalitarianism. He never saw people above religion or class. He did not use the words ‘Bengali Muslim’ or ‘Bengali Hindu’; he only used the word ‘Bengali’. This indicates his liberal outlook. This attempt at synthesis distinguishes him from other poets of the medieval age.

Sufi Influence and Spirituality

Abdul Hakim’s father was a Sufi saint. The influence of Sufi consciousness and philosophy on Abdul Hakim was profound. Sufism means the path of love and spiritual practice for self-purification and attaining proximity to God. Abdul Hakim’s ‘Nurnama’ combines the external tenets and spirituality of Islam. In the love story ‘Yusuf-Zulekha’, he tried to blend spiritual love with earthly love. Despite being familiar with Persian and Arabic Sufi literature, he avoided complex depictions like the Sufi lyrical ballads. He wanted to convey Sufi philosophy to the hearts of ordinary people. In this regard, he achieved rare success.

According to Sufi philosophy, God can be attained through love. Abdul Hakim embedded that Sufi thought deep within most of his love poems. At the end of ‘Lalmoti Soifulmuluk’, Soifulmuluk attains spiritual knowledge. Through this process, Abdul Hakim wanted to convey deep religious doctrines to the common reader. His poetry has survived through the ages because his spirituality merges with the fabric of the Bengali mind.

Reason and Purpose for Writing in Bengali

Abdul Hakim’s main goal was to educate and raise awareness among ordinary people by writing in Bengali. He saw that the number of people educated in Persian and Arabic was small, but ordinary people were deprived of their knowledge. He wanted to benefit the lower strata of society. Therefore, he rebelled against the prevalent misconceptions. In the prefaces of his works, he spoke about the dignity of language. He argued that acquiring knowledge in Bengali is easier than in Arabic and Persian. Therefore, to develop the country, importance must be given to the Bengali language. In his lifetime, he saw that few knew Persian, but it was possible to convey religion and knowledge to the ordinary Bengali farmer or fisherman in Bengali. This practical truth encouraged him to compose literature in Bengali.

Abdul Hakim further realised that without giving dignity to language, society does not progress. Bengalis would lag behind if science, history, philosophy, and religious texts were not written in Bengali. For this, he translated and created original works. This people-oriented perspective was a testament to unique courage in his day. And for this reason, rebellion and love of language are intertwined in his writings.

History of Manuscript and Book Preservation

In remote areas of Bengal, Abdul Hakim’s manuscripts reached people in hand-written copies. Local people preserved these manuscripts with care. During the British rule in the 19th century, manuscript collectors and researchers collected and edited Abdul Hakim’s literature. Especially ‘Lalmoti Soifulmuluk’ was first printed in 1899. Until then, Abdul Hakim’s name was not so recognised in literary history. Government literary institutions of West Bengal and Bangladesh, such as Bangla Academy, have published Abdul Hakim’s collected works. Manuscripts are still preserved in various libraries. Copies of ‘Nurnama’ and other poems exist in the library of Dhaka University and the National Library of Kolkata.

In the early 20th century, Dr. Muhammad Shahidullah and Dr. Muhammad Enamul Haque edited and researched Abdul Hakim’s works. They published linguistic analyses and authoritative editions of Abdul Hakim’s poetry. As a result of their efforts, Abdul Hakim was identified as one of the most powerful poets of the medieval age. Recently, Bangla Academy in Bangladesh has published a complete collection titled ‘Abdul Hakim Rachanabali’. It is hoped that all his poems are compiled in this collection. Many manuscripts have been lost in the current time. Abdul Hakim’s literature is evaluated based on what has been possible to recover from the brink of destruction.

Contemporary Politics and the Poet’s Stance

The politics of Bengal in the 17th century were unstable. Conflicts between Mughal subedars and local zamindars had reached extremes. The nuisance of Portuguese and Magh pirates was extreme. The Chittagong region was then under the influence of Portuguese colonies. Abdul Hakim’s birthplace, Noakhali and Sandwip, were subject to attacks by Portuguese and Magh pirates. The poet himself witnessed these anarchy. But these matters are not directly reflected in his poetry. Rather, he made religion and humanistic love his main subjects. Amidst political instability, he immersed himself in the peace and sweetness of literature. His poetry gave some mental solace to the people. He also tried to improve the mental state of society through creating linguistic consciousness. He did not practice the politics of any party; rather, he was neutral and liberal. However, his firmness towards the Bengali language naturally made him a pioneer of Bengali nationalism.

Although there was no direct political influence on the poet, he severely criticised the unethical behaviour of zamindars and rulers of his time in his poem ‘Nasihatnama’. These essays and advice increased the social awareness of readers.

Personal Life and Religious Values

Not many specific details are known about Abdul Hakim’s personal life. He was a religious and devout Muslim. He practised the Qur’an and Hadith. He also had knowledge of Fiqh and Islamic law. However, he did not suffer from religious narrowness. As the son of a Sufi saint father, he accepted the broad meaning of religion. By mentioning Hindu deities and the Puranas in his poetry, he conveyed the message of religious harmony. This indicates his liberal mentality. It is believed that he remained unmarried throughout his life, or details of a wife and children are unknown. However, his main companions in life were books and the pursuit of knowledge. It is believed that in his old age, he lived alone in Sudharam village, Noakhali. He was strict in religious observance and prayers and fasting. Yet he never wrote in favour of blind bigotry.

Another contemporary poet wrote in his praise that Abdul Hakim achieved spiritual heights through supererogatory prayers and zikr. Many researchers believe that the spiritual practice of his own life created the depth of emotion in his poems. He composed literature out of a sense of responsibility to the country and society, never for personal gain.

Death and Burial (c. 1690)

Although the exact year of Abdul Hakim’s death is not known, most scholars assume his death around 1690. No information is available about the cause of his death either. It is likely that he breathed his last in his old age at his home in Noakhali or Sandwip. After his death, the location of his grave is unknown. No memorial or tomb has been discovered to date. It is painful that the poet who so loved language has no symbol to preserve his own memory. The exact location of his death is lost in the obscurity of history. Local tradition holds that he may have been buried in an old graveyard in Babupur village, Noakhali. But archaeologists and researchers have not been able to say anything for certain. In the absence of any particular elegy or documentary evidence of his passing, only his literary works survive in history.

Poet Abdul Hakim’s Legacy

After Abdul Hakim’s death, his manuscripts circulated orally. Until the 19th century, his name was almost unknown. In fact, he was overlooked in the contemporary stream of Bengali literature. But his writings survived orally. Recitation sessions of manuscripts like ‘Nurnama’, ‘Lalmoti Soifulmuluk’ were held in rural society. Especially Muslim women especially would read ‘Nurnama’ in hopes of receiving religious advice. Thus, his works survived. In the late 19th century, many intellectuals recovered Abdul Hakim’s poetry and rediscovered him. Researchers like Dr. Muhammad Enamul Haque, Dr. Muhammad Shahidullah evaluated Abdul Hakim’s literary works. They called him an ‘immortal poet of the medieval age’. They recovered his ‘Bangabani’ and highlighted its language consciousness and progressive philosophy. As a result, his fame spread anew. By the early 20th century, the historians of Bengali literature began giving Abdul Hakim his rightful place.

The Inspiration of ‘Bangabani’ in the 1952 Language Movement

When the people of East Pakistan took to the streets in February 1952 demanding ‘Bengali’ as the state language, the lines of Abdul Hakim’s ‘Bangabani’ were recited. Students and ordinary people of Dhaka University became energised by reciting the poem. This poem taught Bengalis that those who hate the mother tongue lose their identity. This poem was memorised many times during the Language Movement and used as a slogan. The strength of this inspiration led Bengalis to sacrifice their lives on Martyr’s Day in February 1952. Abdul Hakim’s poem had prepared the background for the Language Movement. He became immortal that day. 262 years after the poet’s death, his poem awakened Bengalis. On 21 February 1952, in the history written with the blood of martyrs, Abdul Hakim’s poem seems a reflection of that blood. ‘Bangabani’ was the slogan of Bengalis on the battlefield of the Language Movement.

This phase is the most glorious chapter of Abdul Hakim’s legacy. After the Language Movement, Abdul Hakim’s poem secured a permanent place in the national life of Bangladesh. Every year on 21 February and Independence Day, ‘Bangabani’ is recited in schools, colleges, and cultural institutions.

Abdul Hakim’s Influence in the Liberation War and the Struggle for Independence

During the Liberation War of Bangladesh in 1971, Abdul Hakim’s ‘Bangabani’ was used once again. While building resistance, freedom fighters and ordinary people recited Abdul Hakim’s poems alongside those of Rabindranath and Nazrul Islam. The line ‘Those born in Bengal who hate the Bengali language’ was a language of mockery towards the Pakistani rulers. This poem made Bengalis dream of an independent Bengal. It gave inspiration and confidence for the war. Therefore, Abdul Hakim holds a glorious place in the history of Bangladesh. In a documentary on the Liberation War, a group of freedom fighters is seen reciting ‘Bangabani’ while picking up weapons. Countless poets and writers admit that one of the sources of inspiration for their writing and struggle is Abdul Hakim. Even in the first speeches on Victory Day, 16 December 1971, lines of Abdul Hakim were quoted, it is known. Thus, Abdul Hakim became an immortal soldier of the Bengali independence movement.

Abdul Hakim’s Works in Educational Institutions

Abdul Hakim’s poem ‘Bangabani’ is taught at the secondary and higher secondary levels in educational institutions of Bangladesh. Parts of ‘Nurnama’ are included as a text in Bengali literature. Students are inspired by reading his story of self-respect and love of language. Research is conducted on Abdul Hakim’s literature and language consciousness in university Bengali departments. Thus, the future generation will carry his legacy. Poet Abdul Hakim is given due respect in Bangladesh’s education system. His poem has also been included in the higher secondary and bachelor’s level curricula of West Bengal. Students of Visva-Bharati University and the University of Calcutta read Abdul Hakim’s works.

His books ‘Nurnama’ and ‘Yusuf-Zulekha’ have become subjects of postgraduate research. Millions of students read his writing to gain knowledge about the medieval age and language consciousness. This is undoubtedly a rare precedent.

International Recognition and Research

International research has been conducted on Abdul Hakim’s poetry. Several researchers from the Department of Oriental and African Studies at the University of London have done PhDs on his writings. Researchers from West Bengal, Bangladesh, and India have published critical collections on ‘Nurnama’, ‘Yusuf-Zulekha’, and ‘Bangabani’. Recently, Abdul Hakim’s poems have been included in a collection of Bengali literature published by Oxford University Press. Research is also being conducted on Abdul Hakim’s poetry in the Department of Oriental Studies at Tokyo University in Japan and the University of Berlin in Germany.

However, there is a need to increase international recognition. In the context of the international recognition of the Bengali Language Movement and UNESCO’s International Mother Language Day, Abdul Hakim’s contribution should be discussed more. UNESCO already declared 21 February as International Mother Language Day in 1999. Abdul Hakim’s ‘Bangabani’ and love of language are deeply intertwined with the core spirit of this day. Therefore, there is an opportunity to spread his name further on the international stage. To this end, the government and educational institutions can undertake translation and dissemination activities.

Contemporary Importance

Abdul Hakim’s appeal and relevance are not limited to the past. In every country of the world, there are tendencies to neglect the mother tongue and blindly imitate foreign languages. Abdul Hakim’s argument that education and literary practice must be conducted in the language in which it is easy to study is a universal truth. In an era of excessive use of English and imitation of the West in Bangladesh, Abdul Hakim’s philosophy leaves a prompting. Therefore, his relevance is only increasing. Where the dominance of English in higher education and profession is pushing the Bengali language aside, Abdul Hakim’s question – ‘He whose mind does not delight in the knowledge of the native tongue, how can his life be successful?’ – seems applicable to the educated Bengali of modern times as well. Therefore, he will remain immortal to future generations as well.

Moreover, his poems are also instructive on religious tolerance and communal harmony. At a time when bigotry and discrimination are increasing, Abdul Hakim’s liberal mentality is a lighthouse. He said, ‘All languages are equal to God’ – this message is eternal.

Controversy and Misunderstandings

There is controversy over Abdul Hakim’s use of Hindu mythological characters and metaphors in some of his writings. Some think he deviated from the fundamental tenets of Islam. But Abdul Hakim’s goal was to reach Bengalis fully. Avoiding religious narrowness, he united Hindus and Muslims. This liberalism and humanism should be viewed positively, not criticised. Some contemporary orthodox clerics are said to have even issued fatwas of apostasy against him. But Abdul Hakim was not frightened by this, and he replied, “Knowledge is for all communities; I have not belittled anyone.” This controversy ultimately went in his favour because ordinary people loved reading his poetry.

Another minor controversy is that he is not the author of multiple books; some books have been forged in his name. For example, the authenticity of the manuscript of ‘Lalmoti Soifulmuluk’ has been questioned. But most researchers accept them as Abdul Hakim’s original works because style and language experts have found matches. Controversy aside, there is no doubt about the authenticity of Abdul Hakim’s main achievements, ‘Nurnama’ and ‘Bangabani’.

Preserving Abdul Hakim’s Memory in the Current Context

There is no memorial in Abdul Hakim’s name in the Noakhali and Sandwip regions of Bangladesh. An auditorium in the Bengali department of Noakhali University has been named after him. However, complete preservation of memory has not been achieved. The lack of a portrait of him in Sudharam, Sandwip, is a deficiency. Government and private initiatives must be taken for the preservation of memory. A museum can be built at the poet’s birthplace and workplace. It is urgent to preserve the poet’s house and establish a memorial in Noakhali district on the initiative of the Noakhali District Council and the Ministry of Culture. Additionally, an ‘Abdul Hakim Medal’ could be introduced, to be awarded for contributions to Bengali language practice.

In 2017, the Noakhali District Administration launched a commemorative lecture series in Abdul Hakim’s name. But it is not happening regularly. In 2022, the golden jubilee of the Language Movement, his poem was strongly discussed. In the age of information technology, arrangements must be made to preserve and disseminate his works in digital format. His collected works should be made freely available online for everyone.

Important Events and Epochal Moments

• c. 1620 – Born in Babupur village, Sudharam, Noakhali (or Sudharam, Sandwip).
• c. 1640-1660 – Acquires mastery of Arabic, Persian, and Sanskrit; gains deep knowledge of Sufi philosophy and Hindu Puranas.
• c. 1660-1670 – Begins composition of ‘Nurnama’ and ‘Yusuf-Zulekha’; completes ‘Nurnama’, including the ‘Bangabani’ section.
• c. 1680 – Composes poems such as ‘Lalmoti Soifulmuluk’, ‘Hanifar Lorai’, ‘Nasihatnama’, ‘Durre Majlish’.
• c. 1690 – Dies at approximately 70 years of age; burial place unknown.
• 1899 – ‘Lalmoti Soifulmuluk’ first printed and published; rediscovery of Abdul Hakim’s literature begins.
• 1952 – ‘Bangabani’ widely used in the Language Movement; Abdul Hakim re-recognised at the national level.
• 1971 – ‘Bangabani’ inspires freedom fighters in the Liberation War.
• 2000-present – Abdul Hakim’s place in educational textbooks is consolidated; research and publication increase.
• 2017 – ‘Abdul Hakim Commemorative Lecture Series’ launched by the Noakhali District Administration.
• 2025 – Abdul Hakim’s popularity and relevance have increased further; recitation of his poem is regular on International Mother Language Day.

Epilogue – Abdul Hakim, the Immortal Soldier of the Mother Tongue

Abdul Hakim was a visionary thinker and national poet. He did not study at any institution, yet his intelligence and courage were extraordinary. In the 17th century, he declared, ‘He whose mind does not delight in the knowledge of the native tongue, how can his life be successful?’ This question remains unanswered to this day. His name will be written in golden letters in the history of Bengali literature. His words will circulate on the lips of Bengalis as long as the Bengali language and the Bengali nation survive. That language soldier from five hundred years ago still shows us the path today. Therefore, poet Abdul Hakim is eternally memorable, eternally popular, and eternally immortal. Not only a poet, he is the voice and pride of an era. His composition ‘Bangabani’ is not just a poem; it is a document of Bengali identity. In the Language Movement, the Liberation War, and the linguistic practice of the present generation – he seems present in all, immortal. His love for the soil of Bengal and the people of Bengal was unwavering, which he made imperishable in his poetry. Abdul Hakim is not just a poet of the medieval age; he is eternal.

The thriller does not end. Each word of Abdul Hakim’s ‘Bangabani’ seems like a torch of rebellion. Even in today’s age of information technology, when the use of the mother tongue is declining, his poem points a finger at us, saying ‘This path is wrong.’ We remember that infinitely courageous poet, and future generations will remember him too. Abdul Hakim is immortal.